Snowpiercer stands out as a recent example of a trend fans of film are witnessing more of: philosophically-focused science fiction and fantasy. While it could be argued that many science fiction classics deal with some philosophical themes, the trend has become far more common than in previous decades. In the last several years, films such as After the Dark, The Double, Enemy, Another Earth, as well as many others ask audiences to grapple with complex conundrums such as globalism, meaning and the self, morality and death, and even deeper esoteric questions, like alternate worlds and mystical symbology. While Hollywood is busy with found-footage horror, cynical raunchy comedies and comic book blockbusters (the latter of which do incorporate conspiriana), lesser-known independent films are touching on far more abtruse matters that extend beyond the realm of the political. Seeing new films clearly influenced by Terry Gilliam, for example, is a welcomed beacon of hope. A rebellion in the arts towards asking meaningful questions that challenge social engineering and prepackaged think tank paradigms is precisely what is needed, and that is partly my intention with this site.

Based on the French graphic novel Le Transperceneige, Snowpiercer is Korean filmmaker Bong Joon-ho’s first English release. The plot involves a post-apocalyptic world that has entered a new ice age due to mankind’s failed geoengineering and climate-altering hubris. The amorphous chemical “CW7” is sprayed globally to halt a supposed “global warming” catastrophe, while the ice age actually occurs as a result of the chemical spraying, and not “climate change.” To see a film present the very real threat of geoengineering and climate alteration through aerosol spraying, as well as questioning the “global warming” hoax (now morphed into “climate change” by public relations consultants) is startling to say the least. While there may be some film that has previously questioned these establishment orthodoxies, I am not aware of it. For unknowing skeptics and system hacks, I present two clear examples of the reality of aerosol chemical spraying (“chemtrails,” as opposed to normal ice crystal “con trails”) and geoengineering that are undeniable.

“A small group of leading climate scientists, financially supported by billionaires including Bill Gates, are lobbying governments and international bodies to back experiments into manipulating the climate on a global scale to avoid catastrophic climate change. The scientists, who advocate geoengineering methods such as spraying millions of tonnes of reflective particles of sulphur dioxide 30 miles above earth, argue that a “plan B” for climate change will be needed if the UN and politicians cannot agree to making the necessary cuts in greenhouse gases, and say the US government and others should pay for a major programme of international research.”

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Snowpiercer begins with planes spraying the sky, while news casts report the importance of CW7 as the last hope to save humanity. As a result, virtually all life on earth perishes, while a small number of “chosen” are whisked away aboard a high-speed perpetual motion-run train that circles the globe. A perpetual motion machine is, in fact, a holy grail of technology, as its desire grew from the mechanistic model of the universe that gained sway in the Enlightenment. From the Enlightenment came the reign of quantity and rationalization of all reality into the collapsed, reductionist grand narrative of evolutionary materialism. Within this paradigm, man is viewed as a cog in the deterministic, naturalistic machine of the inanimate, eternal and universal ecosystem. In this view, the symbiotic ecosystem requires an inchoate metaphysical principle of “balance,” and thus the Malthusian presuppositions of eugenics come into play, removing man from his previous position of ordained steward of creation under God, to an impersonal artifact on a social Darwinian ladder, who must ever grapple to become the fittest. The “fittest” then rapaciously destroy one another to subjugate and dominate nature en toto, in order to transcend it. The culmination of this worldview is, of course, transhumanism, and Snowpiercer will become, as I argue, a warning for this worldview.

Malthusian themes of “sustainability” where the train’s ecosystem must be kept in “balance” through continual murder.

Protagonist Curtis (Chris Evans) plays the revolutionary leader of the “back” of the train, who, under the tutelage of the aging former leader Gilliam (John Hurt), must organize the final rebellion against the tyrannical “front” of the train. Class warfare clearly comes to the fore, as the front of the train are all presented as decadent elite, wining and dining on the finest delicacies, enjoying every possible luxury a train can afford, while the workers at the back are forced by a brutal police state to produce for the parasitical front. Minister Mason (Tilda Swinton) heads up the front class’ security forces in a role reminiscent of something akin to Mao Tse Tung’s wife, Jiang Qing. Her communist dictator persona may seem out-of-place, given the monopolistic capitalism of the train’s inventor, Mr. Wilford (Ed Harris), yet regular readers will be familiar with the longtime argumentation presented here that communism and monopoly capitalism are flip sides of the same dialectical coin. The corporate fascism of Wilford works hand in hand with the dictatorial militaristic police state polices of Minister Mason. It is also not accidental that her name is Mason, given the history of world freemasonry exhibits a clear proclivity for communism, from Robespierre and Marat to Salvador Allende. Communism and fascism are both political technologies designed to suit the same totalitarian ends.

Brainwashed children of Wilford Industries.

As the Curtis Revolution progresses, car by car, each compartment gives a new revelation of the dark nature of the system. The train’s unbending regimented eugenics policies and schoolhouse indoctrination programs emerge are the most significant, as viewers witness a classroom propaganda video portraying Mr. Wilford as a literal god and savior. Here the film’s symbolism used to describe the train exemplifies an important deeper message. The train is compared symbolically three ways in the narrative: to a machine, to the world, and to a human body. Early on, as an angry worker loses his arm as a punishment, Minister Mason curiously describes the train as a body with a “head” and a “foot.” “Everything must stay in its preordained place,” she exclaims, as the foot trying to become the head leads to chaos, and chaos means the dissolution of mankind and loss of the train’s balanced ecosystem. As the insurrection seizes the car associated with water production, a captive Minister Mason informs Curtis that water comes “from the mouth of the train, not the bum,” and that a resource war will harm all the train’s inhabitants. When Curtis reaches the front of the train, Wilford gives the descriptive imagery of the train as “an eternal machine” and as “the world,” but its significance will be detailed below.

While the revolution progresses, Curtis gradually begins to make tough moral choices that reveal more about his pragmatic designs to the viewer, as well as to himself. Curtis is forced to sacrifice his friend’s life to apprehend Minister Mason, then shoot Mason in the head, as well as admitting to cannibalism in the past to survive. Curtis slowly grasps that his own nature is quite cruel, calculating and vicious, and the difficulty of holding everyone to his egalitarian and equalitarian moral standards becomes more challenging. By the time Curtis reaches the front car and the engine, Wilford divulges the entire regime change was staged and engineered. Gilliam, the old revolutionary leader, is actually Wilford’s old friend, with a special direct phone line that communicates front to back. Gilliam and the revolution are then sacrificed by Wilford to maintain the 74% eco-balance for “sustainability.”

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Wilford’s monologue then paints the train as the world, revealing to Curtis that all along the plan was to offer him leadership of the train, replacing Wilford. Since Curtis was the first worker to make a successful coup and reach the front, he was in a unique position to have seen the entire “machine” and its full hierarchical order, as no one else had. Wilford explains that the train must be ruled by “anxiety, fear and horror” in a balance to psychologically manipulate and control the masses. Meanwhile, the Curtis Revolution explodes into full anarchy and Wilford whispers to Curtis that without a hero, the train won’t run. “The eternal engine. It is eternity itself,” Wilford sneers, waiting for Curtis to accept the implications of his failed mutiny. The crucial point in all this is…..

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Broaching subjects as wide as satire, metaphysics, film analysis, theology, geopolitics, literature and history, as well as interviewing numerous prominent figures, Jay is academically published in peer review and has authored hundreds of articles already read by millions in just the past few years. Jay Dyer has also co-created, written, and co-starred with Jay Weidner in a new television series titled Hollywood Decoded for Gaia based on his unique approach to film.

“While the revolution progresses, Curtis gradually begins to make tough moral choices that reveal more about his pragmatic designs to the viewer, as well as to himself. Curtis is forced to sacrifice his friend’s life to apprehend Minister Mason, then shoot Mason in the head, as well as admitting to cannibalism in the past to survive. Curtis slowly grasps that his own nature is quite cruel, calculating and vicious, and the difficulty of holding everyone to his egalitarian and equalitarian moral standards becomes more challenging. By the time Curtis reaches the front car and the engine, Wilford divulges the entire regime change was staged and engineered. Gilliam, the old revolutionary leader, is actually Wilford’s old friend, with a special direct phone line that communicates front to back. Gilliam and the revolution are then sacrificed by Wilford to maintain the 74% eco-balance for “sustainability.”

Wilford’s monologue then paints the train as the world, revealing to Curtis that all along the plan was to offer him leadership of the train, replacing Wilford. Since Curtis was the first worker to make a successful coup and reach the front, he was in a unique position to have seen the entire “machine” and its full hierarchical order, as no one else had. Wilford explains that the train must be ruled by “anxiety, fear and horror” in a balance to psychologically manipulate and control the masses. Meanwhile, the Curtis Revolution explodes into full anarchy and Wilford whispers to Curtis that without a hero, the train won’t run. “The eternal engine. It is eternity itself,” Wilford sneers, waiting for Curtis to accept the implications of his failed mutiny. The crucial point in all this is the principle of managed dialectics – iconized in the communist revolutionary as a controlled creation of the engineers of the system (Wilford), whose aspirations are already calculated to serve first class when anxiety, subversion, chaos or depopulation were needed. The phony left-right paradigm of Hegelian duality could not be better demonstrated. The train is a mini one world government built upon the industrial ingenuity of mass travel and global commerce, foreshadowing our own bleak dialectical future of a planetary regime.”
I just saw this film two weeks ago. You really nailed it with this review! You’re spot on! Kudos!

Kurt, Check out this Movie review below from Jay. I haven’t seen it but it is surprising to see the chemtrail and geoengineering theme in a hollywood movie. Weather manipulation has been used for decades. There are many esoteric themes and possibly predictive programming events in Snowpiercer. Looking forward to seeing it. Date: Sat, 8 Nov 2014 09:35:26 +0000 To: libertynjustice4all@msn.com

Great article, thank you. I wasn’t going to see the movie, but now I will.

Considering your views, have you taken a look at Thieves Emporium? It’s a near-future analysis of the effects of our collapsing currency, encroaching government surveillance, and cryptography on lives and freedom.

The Daily Anarchist called it ‘Barely fiction’ while one of the Bitcoin Foundation Directors said ‘I recommend you read this book!’. Most Amazon and Goodreads readers seem to agree as it is rated 4.5 on both sites.

There is one thing you could have put in this article that is something i think they wanted to beseen as well. When it comes dow to the ending population of the human race.. Way way way into the future of humans mating and mixing genes. Basically what scientist predict will be of the asian race for being populus, there are more of them than any other race and as well for hispanics they have huge families, they pop out alot of kids, ( tend to most of the time). Eventually it will lead down to those two mixes. Which i have read in a random article somewhere. So that is something to think about 🙂 being yona and the other kid “last ones standing”

Mankind’s tragedy is exemplified in this film. Long ages are spent in fighting a tyranny from which escape is impossible through our own efforts. It is as if we are trying to cut our way out through a tough transparent membrane with plastic picnic knives.
There is only one Power which enables us to apprehend the Truth, and to overcome the evil with which this film is replete.
This Power is not even referenced in the film; this is intentional.
If we wish to replace plastic picnic knives with adequate tools, we must look to the Word of God, a strategy which is anathema to the unregenerate human heart.
“For the Word of God is living, and powerful, and sharper than any two-edged sword, piercing even to the dividing asunder of soul and spirit, and of the joints and marrow, and is a discerner of the thoughts and intents of the heart.
Neither is there any creature which is not manifest in His sight, but all things are naked and opened unto the eyes of Him with Whom we have do”.
Hebrews 4, 12-13.
It is noteworthy that the only creature which was not deceived by the machinations of evil in this film was the polar bear spotted at its climax.
Even the animals themselves are wiser than we.

On another note, after watching the movie “Coherence” last night, I went back and read your “Donnie Darko” analysis – which was excellent. I haven’t put my finger on it yet, but I see a connection between those two movies.

Also, thanks Sam Spade for the book recommendation. Now I have something to look forward to this weekend!

You set up an analysis of the philosophical themes of Snowpiercer, then immediately veer far off course and into some “global warming is fake, wake up sheeple” chemtrail conspiracy crap. And I mean IMMEDIATELY!
Look, Snowpiercer IS a movie about struggleing against athority, but that doesn’t mean that 2+2= conspiracy just because an athority on mathamatics tells you 2+2=4.

This was good but I would have liked to see a deeper analysis of all the symbolism, like you did for Eyes Wide Shut. For instance, what was the deal with the fish that the ninja guys cut open? Why did the minister take out her teeth? And there was zero mention of gender neutralization (they called her sir and mister), which is something that’s gaining popularity. I don’t know symbolism well enough to get behind some of this stuff so I was hoping you would.

The film had a lot of christian symbolism in it. The fish represents christianity which the faceless demonic men gutted. The main character also had stigmata at the end (hole in palm and wound on head. The meeting with Wilfred was an allusion to christ being tempted by Satan and offered temporal kingdoms. One could even argue that the train itself (Snow Piercer) is a metaphor for the spear of Longinus which ‘pierced’ christ thus redeeming the world. Snow is white symbolizing purity, innocence. Mary had a little lamb (christ), his fleece was white as snow.

Exactly! The train is Plato’s Utopia, his perfect city which the elites use as a justification to claim royal blood through Neoplatonist religious symbolism sprinkled about our art and pop culture for centuries.

The criticism that Jay Dyer veers off into ‘conspiracy theory ‘ about chemtrails , eaarly in the article , is truly myopic . It is what the film is based on . A : CIA Document 1035-960 . B: Go outside , tilt head back , look at sky . Repeat at intervals .
While this may appear to be a non sequitur , I contend it is relevant : work conducted by scientists , in German corporate lab setting , documented , irrefutable , and it knocks down Einsteinian energy-derivative-of-matter
( E=MC2 ) , Darwinist evolution theory , and GMO irreversability , all at once . It also demonstrates how nature functions and regulates growth and genetic creation/reproduction , and that life on earth is not entropic . Search Urzeit Code , or Primeval Code . http://www.urzeitcode.com/english/

Just watched the movie: great review! Way far from my own perception about the movie. =)
I would add the following facts to confirm this review:
1. The author is french (who probably knows the “true face” of French Revolution)
2. The director is south-korean (and probably knows the “true face” of North Korea)
3. Chis Evans is Capitain America! (wow!)
4. Jamie Bell is Tintim! (wow!)
5. “Wilford” makes us think about Ford (and “Ford” makes us think about Ford Foundation)